SETV News Sample Script

When you're working in a space, you need to know where things are. These are some sample layouts for small television stations with studios and control rooms.

The above outlines are simple, including room locations in a building with basic placement of a few pieces of equipment.

This is a much more detailed drawing of a television studio (above). This actually showcases where the anchor desk and chairs are, where the cameras are in relation, and where the light fixtures are hanging (a few at least). This is about right for level of detail and overhead layout.

Finally, this is a crazy cool 3D drawing of a television studio with placement of anchors, cameras, lights, and the control room staff. This is above the top not necessary for our purposes. This drawing actually makes it a little hard to see what is where because there is too much detail.

What is "Broadcast Journalism" ? And why study it?

Broadcast Journalism is defined as the means of communicating news from journalists to the public through radio, television, or Internet.

Do you watch television or listen to the radio?

Do you consume 'news'?

Okay, first...what is 'news' to you?

Alright, now how do you consume 'news'?

What does "broadcast" journalism mean again?

Do you think the term 'broadcast' still applies?

How could we better categorize our work?

What is your role as a journalist?

How is that role changing?

Radio, Television & Internet

Three Categories of Journalism: Electronic News Gathering (ENG)Electronic Field Production (EFP)​Studio Productions

Electronic News Gathering (ENG) is simply a reporter and a producer going out and gathering information to bring it back for a show.

Electronic Field Production (EFP) is when a production crew goes out and broadcasts live from a location or event as the show; example would be the Oscar’s, Emmy’s, etc. ​

Studio Productions are simply that; shows produced in the television studio.

Elements of a News Studio & Control Room

Production Roles

​Anchor

The news anchors (usually two students) are responsible for writing the script for the broadcast. This script should follow broadcast standards, keeping the information conversational and understandable. it is normal to write stories for a fifth grade reading level to insure that information does not go over the head of your viewers.

The anchors dress professionally while presenting the news behind the anchor desks. This involves rehearsing the script, as well as reading off the teleprompter while being recorded.

Floor Manager

The floor manager is the person responsible for overseeing all jobs in the studio, including anchors, camera operators, lighting, etc. He or she must make sure that the studio is safe (following OSHA guidelines) before, during, and after the broadcast.

The floor manager must stand directly beside the camera (between the cameras) and must signal the anchors to either begin speaking or to end speaking throughout the broadcast. This person is the communicator between the producer in the control room and the anchors behind the desk.

Camera Operator

The camera operator is responsible for setting up the cameras for the broadcast; wheeling them into position, powering them up, turning them on, and connecting the CAT-6 cable connection into the control room.

The camera operator is responsible for operating the camera (or cameras) during the broadcast, widening out or zooming in the shot throughout the show as directed from the control room. The camera operator is not to talk during the production.

The camera operator is responsible for putting the cameras away, wrapping up cables, and following OSHA guidelines.

Producer

The producer is responsible for the overall rundown of the show. He or she must run the producer's meeting at the start of the week, coordinating with reporters to see what stories are available and need covering. The producer assigns these stories. The producer then decides the order of the stories for the broadcast, working with the anchors to write the script.

The producer must oversee that every story is being completed and the packages are coming together throughout the week. If a reporter or team needs help, the producer must find them help or help on their own.

The producer calls the show in the control room, preparing all the positions for the next shift; "ready camera 1, take camera 1, ready sound effect, take sound effect," and so on.

The producer gives feedback for all roles, encouraging the crew and anchors on their job well done.

Video Switcher

The video switcher is responsible for turning on the Tricaster and building lineup by importing packages for the show. The packages must be in order in the DDR.

The video switcher is responsible for insuring that the two video cameras and signals are connected to the Tricaster (check with the camera operators).

The video switcher is the person who runs the Tricaster during the broadcast, opening the show with the intro, putting up different camera feeds, and ultimately mixing the show.

The video switcher is responsible for emptying the DDR after each show, uploading the broadcast to YouTube, and closing out the equipment, and shutting it down. *Ask Ms. Brown for information about uploading to YouTube directly from Tricaster.*

Character Generator / Graphics

The CG operator is responsible for going through the script and making titles for each of the required elements. This involves working with the producer to get a sense of what is required. This includes typing out and updating the scrolling credits at the end of the show.

The CG operator is responsible for running the titles throughout the show, putting them up for the Video Switcher in advance so the team is ready for each switch.

The CG operator must clean up and empty out old titles as they become obsolete.

The CG operator must shut down the Character Generator after each show.

Teleprompter(s)

The teleprompter must use his or her Chromebook to run through the broadcast.

The teleprompter must get access (in advance) to the script. They must paste it into the website easyprompter.com and make any adjustments as necessary.

The teleprompter is responsible for going through the script with the anchors to get a feel for their reading speed, matching their pace and pauses.

The teleprompter must run the Chromebook throughout the broadcast.

At the end of the broadcast, the teleprompter may unplug his or her Chromebook and clean up the control room desk where they've sat.

Soundboard Operator

The soundboard operator is responsible for finding songs to play for the introduction as well as at the end of the show each time. These songs must be SCHOOL APPROPRIATE and must be listened to in advance.

The soundboard operator is responsible for uncoiling and setting up two lavaliere microphones in the studio for the anchors; also attaching the microphones to each anchor as needed.

The soundboard operator must perform a full sound check before the broadcast; playing through the various songs (to find levels), asking the anchors to count from 1 to 10 at their normal pace and speaking volume. They must take turns and repeat themselves as needed.

The soundboard operator is responsible for operating the board during the broadcast, playing the intro song, raising and lowering the anchor microphones, and then playing any additional music that is required.

The soundboard operator is required to shut down the board, computer, and so on. Also, he or she must wrap up all the sound cables and put away the lavaliere microphones.

In texture photography, it’s all about patterns, colors and depth, and every single detail of a texture plays a significant role in the overall perception of the photograph. The combination of these intricate details, interesting patterns, vibrant colors and a good depth all contribute to a beautiful texture.

Tips for Photographing Textures

1. FIND A TEXTURE: Once you start looking for patterns and textures, you will start noticing them a lot more all around. You will eventually start encountering textures that are more unique and beautiful than others. Keep your eyes open.

2. CREATE A TEXTURE: If you're having a hard time finding a texture. Find objects that can create a texture and experiment. Do not forget about the importance of having depth in your textures. Uneven and rough surfaces, straight and smooth surfaces rarely look good in photographs. Shadows communicate depth and dimension of a texture, so make sure that your textures have shadows.

3. LIGHTING: Sunlight is one of the best light sources for textures, especially close to sunrise and sunset, when the light rays hit objects at an angle. Bright sunny days are the best because they throw hard shadows. Cloudy days can create a soft, diffused light that will soften shadows. Without shadows, images lose their sense of depth and dimensionality.

4. ANGLES: A straight picture of a texture might be boring, so try to play with the angles. Consider moving to a unique perspective and also playing with your depth of field (aperture). Try opening your aperture up to shoot with shallow depth of field!

5. MIX & MATCH: Mix different textures with different colors, and so on. The same textures in the same colors can be boring. Search for (or create) variation.

6. REPETITION: Repetition of patterns is what creates a uniform texture. These patterns can be everything from curves to straight lines. Try to locate the section of a texture that showcases repetition or similarities.

7. SHAPES:In some cases, you might find a pattern that resembles something (an everyday object or a living being). If you notice such resemblances anywhere, don’t forget to take a picture! These are often entertaining and eye catching for viewers.

No matter how much we deny it, photography is a science. The earliest photographers in history, the inventors of the craft we love so much, were all chemists and scientists experimenting with light and ways to record it.

To capture photographs that are true works of art and reflective of our artistic visions, we must master the science of exposure; capturing the correct exposure while using the settings we need. Looking over the examples above, let's break down the science:

Light Trails (Top): This image shows the stars as they've gone streaking across the sky. To capture this image, the photographer had to take a very long picture, allowing those stars to move and cause that streak effect. To do this, the photographer left the shutter open for an extended period of time (likely 10-20 minutes). Unfortunately, leaving the shutter open lets in a lot, a lot, a lot of light. To capture this scene, the photographer had to find ways to block out all the extra light otherwise the image would be over exposed and blown out (too bright).

Water Splash (Above Left): This image shows water frozen in time and space. Every droplet in the front of the image is crystal clear almost like an icicle. To capture this photo, the photographer had to freeze time, flashing the shutter of the camera wicked fast to only capture this fraction of a second. To use a fast shutter means that very little light will have time to enter the camera and the image will likely be very, very, very dark or under exposed. To compensate, the photographer has to find other ways to let more light in.

Flower (Above Right): This image shows a flower standing in a field of similar flowers. There is no movement in the image, but it does not appear to be a windy scene. Most fields have some rustling, but nothing too whipping. To capture this artistic scene of an isolated flower alone in a field, the photographer had to create a sense of shallow depth of field. To do this, they had to open their aperture wide open. By doing this, the camera suddenly lets in a lot, a lot, a lot of light. This means the image would be very bright or over exposed. To compensate, the photographer has to find ways to block out a lot of that extra light.

The Struggle is Real

The seasaw above represents this scientific calculation, and here's how (see below). When trying to figure out how to balance art and science, it is important to learn the three elements that make up exposure, which are:

ISO, SHUTTER SPEED, AND APERTURE

The seasaw is my favorite way of explaining exposure because it is simple. The photographer has one artistic element he or she typically tries to capture (example: shallow depth of field or freezing action). With this artistic goal in mind, the photographer sets the aperture or shutter speed for that choice, and then they must adjust the other two settings to create a balanced exposure. #compromise #givingin #youdontalwaysgetwhatyouwant #takingturns

Metaphors = Life

Pretend--for a moment--that these three exposure settings are members of your family... (go with me for just a minute). Now, you're heading out to a restaurant for dinner with your exhausted mother, and no one agrees where to eat;

​Sister / Aperture: only wants to go to a small diner with dim lighting (dark) and rows of booth seats (rows).

Example: Capture a ball frozen in mid-air

Reading the Exposure Meter

Remember, the word photography means 'writing with light.' That means that without light, we cannot take a picture! To capture the image with our cameras, we need to make sure there is the perfect amount of light coming through the lens. This is called metering (or measuring) our exposure.

On the back of every DSLR camera there is an EXPOSURE METER that looks like this (above). The meter measures light available in the scene, and tells the photographer if they need to change their settings. If the meter reads to the right, the photograph will be very bright. If the meter reads to the left, the photograph will be very dark. the goal is (just like Goldilocks) to find the perfect sweet spot in the middle.

To photographers, we don't say, "It's too bright or too dark." Instead, we use the terms OVER EXPOSED and UNDER EXPOSED. Over exposed means that the light coming into the camera is too bright and your image will be blown out. Under exposed means the light coming into the camera is too little and your image will be really, really dark.

Choosing the Right Meter

When shooting on film, photographers and filmmakers had to use light meters to measure the available light to capture the correct exposure for their images. These light meters still exist today and are called an INCIDENT LIGHT METER (left above) and a REFLECTIVE LIGHT METER (right above). These two light meters both measure light but in two very different ways.

Reflective Meters: Measure light in a scene from the camera's perspective. This tells the photographer what objects in the image will be brightest and darkest. (Advanced: The light meter gives f-stop and lux measurements so the photographer can set the camera's aperture, ISO, or shutter speed to the correct exposure settings.)

Incident Meters: Measures the light falling on subjects from the direction of the light source itself. This tells the photographer how bright each side of a person's face might be.

Important: Both light meter types ultimately provide the same information but in different ways;

An incident light meter is typically used in video or film where the camera and/or subject may move in space around a subject or object and the light would then change.

The reflective light meter is typically used in photography because the camera and subject stay relatively stationary throughout the shoot.

DSLRs & Metering Exposure

Digital cameras use an internal LIGHT METER inside the camera to measure the available light. There are several different types of light meters and light meter settings to chose from (see below).

EVALUATIVE: As the name implies, it evaluates based on the overall scene. The camera “brain” checks the scene and then compares it against thousands of “scenes” that it has “memorized,” so to speak.

CENTER-WEIGHTED: Measuring the entire scene with more emphasis on the center (clearly). Roughly 70% of the exposure metering is focused on the centre, while about 30% is focused on the outer edges.

PARTIAL: Takes a meter reading from a small area. ​In order to capture correct exposure, you need to center the camera on the area you want to meter read, get your exposure settings, and then recompose for your final photograph.

SPOT: Takes a meter reading specifically from one spot in the image. This is ideal for when you're taking a picture with a lot of variation in exposure, for example: a subject that is back-lit, side-lit, or other complicated lighting situations.